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The Black Arts movement heralded an important turn in the history of African American literature. Between 1965 and 1975, a loose confederation of African American poets, playwrights, artists, and intellectuals set out to remake the world in their own image. Fed up with what they considered to be the oppressive logic of Euro-American cultural standards, these practitioners theorized and executed a program of black aesthetic self-determination. Contemporary critics followed suit, emphasizing Black Arts’ conjoined investments in nationalist politics and radical poetics—the discursive level at which the movement reshaped African American letters. That remained the dominant way of understanding the movement until the early 21st century, when scholars began examining Black Arts’ publishing networks and institutions, or the material conditions for creative expression. Since then, scholars have shown how the movement’s effort to redefine the black voice was achieved through a concomitant effort to redesign the black text. Their research has pointed to the need for historicizing the politics of design in this moment of literary transformation. For Black Arts publishers, the work of photographers, illustrators, and graphic designers was important not only for bringing specific literary texts to life but for inviting everyday readers into a robust, race-affirming literary culture.
In 1960 the poet Donald M. Allen published an anthology titled The New American Poetry. Just three years earlier, the poets Donald Hall, Robert Pack, and Louis Simpson had edited New Poets of England and America. Although each purported to be a definitive survey of contemporary poetry, these books could not boast a single poet in common. New Poets of England and America contained academic poets working largely within traditional form, poets influenced by predecessors such as Robert Frost and T. S. Eliot. Mainstream poets like Adrienne Rich, John Hollander, and Richard Wilbur were included. Allen's collection, however, provided a forum for the many experimental poets working in the United States. He viewed these poets as inheritors of the innovations set in motion by Ezra Pound and William Carlos Williams. The work of this new generation had heretofore reached its growing audience only through publication in small magazines and by independent presses or through readings. The Beats, including Allen Ginsberg and Jack Kerouac, were represented, as well as poets of the New York school and the San Francisco Renaissance. Allen also created a new designation for a group of writers otherwise difficult to categorize: the Black Mountain School. To this school he assigned Charles Olson, Robert Creeley, Denise Levertov, Edward Dorn, Joel Oppenheimer, Paul Blackburn, Jonathan Williams, Paul Carroll, Robert Duncan, and Larry Eigner. They were named for the short-lived but much storied Black Mountain College, of which Olson was the rector from 1951 until it dissolved in 1956
Popular conceptions of Bollywood imagine it as a recent entry onto the global screen and stage. Although it is not incorrect to think of Bollywood as a recent formation, scholars can point to an early-20th-century coining of the neologism, even while suggesting that the more recent use of the term coincides with the liberalization of the Indian economy and the globalization of cultural forms and industries since the 1980s. Components of the current transnational assemblage that is popularly called Bollywood can be traced to the long-standing international formations of Bombay Hindi-Urdu cinema. Early and mid-20th-century Bombay cinema was mobilized through colonial, diasporic, and international circuits that brought it to London, China, Russia, and the United States. Consequently, Bollywood has been present in the United States and specifically playing to Asian American publics for over seven decades. During the mid-20th century, Bombay films ran in American art-house theaters; their distribution was often assisted by the effort and labor of Indian Americans who were seeking to gain greater exposure for Indian films. But it was post-1965 Asian migration that established the centrality of film and film cultures to Asian American communities, including but not limited to South Asian diasporic publics; this growth coincided with the globalization of Bombay cinema into a transnational Bollywood media ecology. It is important to recognize the significance of Bollywood as an assemblage within the cultural citizenship and racialized socialities of South Asian Americans and its significance to the affect and temporality of other groups, including Hmong American refugees.
Tuija Laine and Kirsti Salmi-Niklander
Vernacular literacy began in Finland with the Reformation. Michael Agricola, the first Finnish reformer, studied in Wittenberg, and, after returning to Finland, translated the first books into Finnish. The books were originally intended for priests, but in the middle of the 17th century a literacy campaign was conducted throughout the Swedish realm, one that was quite effective in expanding the reading audience. A number of bishops in the diocese of Turku were also active in writing basic religious material for the common people, including primers, catechisms, and hymnals. The church also examined its parishioners’ reading skills. People could not acquire the status of godparent, attend the Eucharist, or marry without proper reading skills and a knowledge of basic Christian doctrine. In the first phase of the campaign, reading was only learning by rote, but by the last decades of the 17th century bishops and priests were emphasizing the importance of reading from books and understanding their content. Literacy progressed further in the 18th century, and literature published in Finnish became more varied.
During the 19th century, Finland’s literacy rate continued to rise gradually. For the vast majority of the rural population, however, “literacy” meant only the very basic reading skills required and examined by the Lutheran Church. The statute for primary schools was laid down in 1866, but the law on compulsory primary education was not enacted until 1921. The Russian government began to promote the Finnish language in the 1860s. The consequent growth of Finnish-language literature and the expansion of the press allowed for reading by large segments of the population. The popular movements established during the final decades of the 19th century (the temperance movement, agrarian youth movement, and labor movement, for example) provided further opportunities for literary training. Among the lower classes in rural Finland, many self-educated writers submitted manuscripts to the Finnish Literature Society and sent news of their home parishes to newspapers. Some of them became professional writers or journalists.
In the U.S.-Mexico context, the concepts of the border, borderlands, and la frontera represent their ongoing complex geopolitical, cultural, and historical relations. With the signing of the Guadalupe Hidalgo Treaty in 1848 and the Gadsden Purchase in 1853, the Mexican and U.S. governments established the southern border of the United States. The border is the international boundary line between the two countries, and the borderlands are the zones neighboring both sides of that boundary. It is a place where the First and Third Worlds collide daily, creating borderlands that amount to collective spaces of transcultural/transnational encounters. The concept of la frontera represents a counter-narrative of the term “frontier,” which became synonymous with American expansionism, or the westward expansion of the United States as proclaimed by Frederick Jackson Turner in 1883. The Spanish term “frontera,” as used in this framework, presupposes a knowledge production ranging from the implications of land annexation to the geopolitical and cultural processes of borderland sites. While the borders mark the place where adjacent jurisdictions, communities, and nation-states meet, it has also been a hotly contested subject—literally and figuratively speaking—inciting extreme emotional reactions that fuel negative stereotypes about immigrants, ethnic discrimination, and xenophobia. Immigration has become one of the most salient sociopolitical issues discussed on the national level. Unfortunately, it is debated mainly outside of the historical context because the histories embedded in its borderlands can contribute enormously to inform current political debates about immigration in the United States. Border crossers coming from south of the border are often portrayed by U.S. politicians as the most unwelcome and undesirable (yet necessary) immigrants. As the national discussion on immigration reform continues and the alleged ills of the U.S.-Mexico border dominate the political discourse and the media, expressive art and print culture must continue to form novel epistemologies of borders and counter unsubstantiated alternative facts propagated by anti-immigrant groups. To that end, it is important to consider the border's literature and imagine the borderlands as the fruitful heterogeneous site of an imagined and creative homeland: Aztlán.
Daniel G. Brayton
Anne Bradstreet has long been the best-known English-language woman poet of the seventeenth century and one of the most famous early American literary figures. While numerous women writers of her era have, in the past two decades, gained a wider readership than ever before, largely because of the recuperative efforts of feminist literary scholars, Bradstreet has needed no such resurrection. She has been widely admired since her poems were first published in 1650. Her fame is often attributed to her status as one of the first English poets, male or female, writing in the Americas. Indeed, the title of the first published volume, The Tenth Muse Lately Sprung Up in America, suggests that the novelty of a poet writing in New England was a significant part of her appeal. Yet there can be no doubt that Bradstreet's work stands on its own. Readers appreciate her poetry for its passionate treatment of familial and theological themes and for its simple elegance.
From ancient Greece on, fictional narratives have entailed deciphering mystery. Sophocles’ Oedipus must solve the mystery of the plague decimating Thebes; the play is a dramatization of how he ultimately “detects” the culprit responsible for the plague, who turns out to be Oedipus himself. In the Poetics, Aristotle defines a successful plot as one that has a conflict (which can include, and often does include, a “mystery”) that rises to a climax, followed by a resolution of the conflict, a plot line that describes not only Oedipus Rex but also every Sherlock Holmes story.
A particular genre of mystery writing is defined by the mystery at the center of the story that is crucially, definitively solved by a particular person known as a detective, either private or police, who by ratiocination (close observation coupled with logical patterns of thought based on material evidence) uncovers and sorts out the relevant facts essential to a determination of who did the crime and how and why. The form of detective fiction throughout most of the 19th century was the short story published in various periodicals of the period. A few longer detective fictions were published as separate books in the 19th century, but book-length detective fiction, such as that by Agatha Christie, was really a product of the 20th century.
Most critics of detective fiction see the beginning of the genre in the three stories of Edgar Allan Poe which feature his amateur detective, Auguste Dupin, and were published in the 1840s. Although Poe’s 1840s stories as well as Arthur Conan Doyle’s Sherlock Holmes stories, which first appeared in the 1880s, are probably the most well known of 19th-century detective fictions, a number of other writers of generically recognizable detective fiction published stories in the almost fifty years between Poe and Conan Doyle, including a number that featured female detectives. Finally, from the 1890s into the early 20th century, a plethora of new detective fictions, still in short-story form for the most part, appeared not only in Britain but also in France and the United States.
Detective fiction has always been popular, but serious critical interest in the genre only developed in the 20th century. In the second half of that century, this critical interest expanded into the academic world. The popularity of the genre has only continued to grow. Both detective fictions (now nearly all novel length) and critical interest in the genre from a variety of perspectives are now an international phenomenon, and detective novels dominate many best-seller lists.
If we accept the well-known distinction that literary fiction is character driven and commercial fiction is plot driven, then the work of Harold Brodkey is the most literary American fiction of the twentieth century. Indeed, it is a critical commonplace to compare Brodkey's work with that of Marcel Proust (1871–1922), the French master of memory and psychological nuance. Born Aaron Roy Weintraub in Staunton (some sources say Alton), Illinois, on 31 October 1930, Harold Brodkey was adopted after the death of his mother by his father's cousins, Joseph and Doris Brodkey (the S.L. and Leila or Lila in his fiction), who lived in University City, Missouri, a suburb of St. Louis. Brodkey graduated from Harvard (cum laude) in 1952, the same year he married Joanna Brown (they were divorced in 1962), with whom he had a daughter, Emily Ann. In his early twenties he began to publish stories in The New Yorker magazine, which were collected to form his first book, First Love and Other Sorrows (1957). The title sardonically recalls the melancholic longing of the European romantic movement. The difference is that Brodkey's protagonists—boys, college students, young marrieds—are unheroic, suburban, and American. They reach for levels of passion and sublimity beyond their capacity, Brodkey all the while maintaining a tone of tender pathos. The first story, “The State of Grace,” recounts the failure of an unnamed thirteen-year-old boy to make a connection of redemptive love with Edward, a beautiful seven-year-old. In the last five of the nine stories, Brodkey portrays Laura—sensitive, intelligent, a representative white middle-class female of the 1950s—from adolescence to marriage and young motherhood. Two of these five stories are parodically titled: Piping down the Valleys Wild (a William Blake poem of paradisiacal vision) and The Dark Lady of the Sonnets (a reference to the powerfully sensual woman in William Shakespeare's sonnets). Laura and her world, Brodkey wants us to know, are poignantly distant from what Blake and Shakespeare evoked. In its depiction of innocence and loss, First Love and Other Sorrows resembles the stories of two other New Yorker writers of the 1950s—J. D. Salinger and John Updike
William R. Nash
Gwendolyn Brooks, American poet, novelist, activist, and teacher, stands out for her social engagement, her professional generosity, and her literary accomplishment. In a career that spanned six decades, Brooks concerned herself with portraying the lives of American blacks, especially people hampered by social and economic circumstances. Throughout her corpus, Brooks demonstrates sensitivity to the particulars of black life in America; when tracking the work chronologically, one sees evolving her sense of the black poet's most appropriate response to a racially charged society.
A best-selling writer who was the first American woman to win the Nobel Prize in literature (1938) and the Pulitzer Prize (1935), Pearl Comfort Sydenstricker Buck published more than seventy books, including novels, short-story collections, nonfiction, poetry, drama, children's literature, and English translations from the Chinese. In addition to enlightening Westerners about various Asian countries and traditions, Buck was active in the political sphere, advocating civil and women's rights, children's rights, and peace.
Asian Canadian Literary Studies is a relatively new field of study which began in the mid to late 1990s. Even though literature written by Chinese, Japanese, and South Asian Canadians had been published in literary magazines and anthologies since the 1970s, the identification of a distinct body of works called “Asian Canadian literature,” as Donald Goellnicht has noted (in “A Long Labour”), began only when there was a sociopolitical movement focused on identity politics. The literature includes early experiences of Chinese in Gum San or “gold mountain”; Japanese Canadian internment during the Second World War; South Asian Canadians diasporic writing from former British colonies like India, Pakistan, Sri Lanka, Bangladesh, Trinidad, Guyana, Tanzania, and Kenya; feminist experimental and genre writing; and writing from the post-1975 wave of first- and 1.5-generation immigrants and refugees. Early 21st-century works have moved from mainly autoethnographic stories to those that include larger sociocultural concerns, such as poverty, domestic violence, the environment, lesbian, queer, and transgender issues, and other intersectional systems of oppression that face Asian Canadians and other marginalized groups. Genres include memoirs, films, short stories, autobiographies, realist novels, science fiction, graphic novels, poetry, plays, and historical novels.
In the past, without naming the field “Asian Canadians,” many critics have engaged with Asian Canadian literary texts. For example, articles and chapters about Joy Kogawa’s Obasan can be found in journals and books on Canadian, postcolonial, ethnic, and Asian American literature. South Asian Canadian literature also has strong links with postcolonial studies and institutions, such as the book publisher TSAR Publications, which began as the literary journal, The Toronto South Asian Review. In Canadian English usage, Asian usually refers to people from East and Southeast Asian while the term South Asian Canadian is a subgroup of Asian Canadian, according to Statistics Canada. In literary studies, it has only been in the past ten or fifteen years that the term “Asian Canadian” is used as a pan-ethnic term for all peoples who are originally from or have roots in Asia.
Charles Bukowski fought, drank, and tirelessly wrote his way to international renown by defining a new American outsider poetry. A self-mythologizing and ingenious promoter, Bukowski was also an extremely prolific novelist, columnist, short-story writer, and poet best known for his hard-bitten, minimalist portrayals of Los Angeles's underbelly. Bukowski provokes extreme reactions to his work. On the one hand he is a cult hero, a writer who sees through the pretensions of life and literature to depict the world in all its brutality and beauty. On the other hand he is dismissed as a primitive writer who spewed out a facile mixture of juvenile bile, self-absorbed rant, and clever posturing designed to get a rise from his audience and raise sales of his books. Bukowski published over sixty volumes of poetry and prose, and his works have been translated into more than a dozen languages. Though he lived hard and drank determinedly for most of his life, he died on 9 March 1994 from leukemia. At the time of his death, he had become wealthy from his many writings and lived in the comfortable suburb of San Pedro.
Beat pioneer, heroin addict, expatriate, anarchist, gay rights advocate, gentleman, punk icon, free speech trailblazer, and member of the Academy of Arts and Letters, William Seward Burroughs was not only one of the most important American authors of the twentieth century but also one of the most fascinating.
Several 19th-century Californio testimonios are the product of interviews of Californio men and women made by H. H. Bancroft’s agents, looking for historical information that would be incorporated in what became, in time, Bancroft’s History of California. In their narratives, Californio informants discuss the 19th-century political and economic periods, with particular interest in the periods of Spanish, Mexican, and US colonization, which brought the dispossession and exploitation of indigenous people in California. These testimonios offer information on the treatment of the Indians within the mission, and their demise after close contact with missionaries and settlers. The role of missionaries in the colonization is also examined—the secularization of mission lands, the pastoral economy dominant in Alta California, and the subsequent dispossession of the Californios after 1848 by the Land Act of 1851, incoming US settlers and squatters, and land speculators. The testimonios offer a first-person account of numerous events, problems, and conflicts in Alta California during the 19th century.
The literary canon, theorists contend, is a selection of reputable works that abstracts their value for specific purposes: to safeguard them from neglect or censure, reproduce social and institutional values, maintain them as exemplary in the formation of personal or communal identities, or objectify and enshrine standards of judgment. The value of canonical works is not felt reducible to these uses or the interests that canon-making may serve, but canonization is nonetheless thought to be a recognition of their value, even confirmation that this value has been sufficiently established, by consensus or institutional edict, that it no longer requires demonstration. The discourse of canonicity thus relies on an economy of belief about the possibility and validity of agreement about literary value. Within this economy, the canon, in whichever composition, is both the evidence and the outcome of agreement, without which value would seemingly become entirely speculative. At the same time, canonicity is also a form of attention paid to valuable works, and it is not the only such form. Canonical works are treated differently than are other valuable works, and the value of the same work may be described in a different rhetoric of valuation depending on what kind of valuable work it is perceived to be. A work may be treated as a reference point, a familiar and influential text whose contribution to culture is measured relative to one context. It may be viewed as a classic, a singular and standard work whose value is perceived across a distance of time or culture. Or it may be esteemed as a canonical text, whose vital and indefinable contribution is not seen as relative to any particular time or place. The discourse of canonicity thus serves to generate belief in the possibility of suspending, however provisionally, speculation and contingency.
Charles Robert Baker
The author known as Truman Capote was born Truman Streckfus Persons on 30 September 1924 in New Orleans, Louisiana. His father, Archulus Persons, was a charming dreamer who believed that his big break was just around the corner; that his next get-rich-quick scheme would be the one that would establish him as a financially independent southern gentleman. One of the many people who fell for his charm and his dreams was a seventeen-year-old former Miss Alabama, Lillie Mae Faulk. Lillie Mae had dreams of her own and saw the twenty-five-year-old entrepreneur as her ticket to a better life. The two were married in Lillie Mae's hometown of Monroeville, Alabama, on 23 August 1923. Their honeymoon along the Gulf Coast was cut short when Persons ran out of money and Lillie Mae was sent home to the relatives who had raised her since her mother's death. Persons stayed in New Orleans, trying to raise some funds, and four weeks later returned to Monroeville with the expectation that the Faulks would take him in and care for him as a member of the family. He was mistaken.
John Wharton Lowe
Transnationalism and Global Studies have exploded old notions of artificial cultural boundaries, opening to view the myriad cross currents between the U.S. South and the Caribbean. Thus, the literature produced by the wider region of the circumCaribbean can be considered to reflect this interplay and as an alternative history to chronicles bounded by nationalism. While the age of contact and contest, the Haitian Revolution, and the U.S.–Mexican War were early focal points for interchange, the mutual influences of cultures have been dynamic, ongoing, and intricately connected to immigration, diaspora, racial conflict and mixing, and the creation of new forms of cultural expression. Nowhere is this dynamic more evident than in the literature of the circumCaribbean, especially in the new forms it has taken over the past fifty years.
Peter Uwe Hohendahl
As early as 1916, Carl Schmitt underscored the centrality of myth and religion in his analysis of the expressionist Theodor Däubler. He celebrated Däubler as a Christian poet and radical critic of modernity. This critique of modernity was then articulated in more systematic terms his 1919 essay Political Romanticism, which opposed the Romantic approach to life and art as ironic escapism and relativism. During the 1920s and 1930s, a personal search for new ground led Schmitt to the Catholic author Konrad Weiss, and subsequently to Herman Melville’s story Benito Cereno as a private allegory of Carl Schmitt as persecuted intellectual. His late literary criticism focused on William Shakespeare’s Hamlet. His interpretation emphasizes the tragic nature of the play, explicitly taking issue with Walter Benjamin’s reading of Hamlet as a Christian Trauerspiel (mourning play). For Schmitt, the central issue is the presence of contemporary history as a force that deeply impacts the drama. This argument is directed against the notion of play and the idea of aesthetic autonomy. Instead, for Schmitt, the older concept of representation defines the place and relevance of art and the aesthetic within a broader cultural and religious configuration.
James P. Austin
Few writers have succeeded over hardship to become an indelible literary figure of their era quite like Raymond Carver. Born in 1938 in Clatskanie, Oregon, Carver was the son of a sawmill worker and he spent his formative years, and even much of his own adulthood, as a member of the working class. It is the men and women of the working class who populate the world of Carver's award-winning short stories. But the road from Clatskanie to the distinguished awards and respect Carver had earned by the end of his life was a long and winding one.
Susan J. Rosowski
Willa Cather is remarkable for the excellence, productivity, longevity, consistency, and experimentation of her writing, and also for the absence in her life of the angst familiar in other authors' biographies: alienation, madness, scandal, alcoholism. Instead, she was faithful to her home, her family, and her friends. Her experience encompassed rural Virginia, frontier Red Cloud and Lincoln, Nebraska, Pittsburgh, Pennsylvania, and Park Avenue in New York City, with side trips to Europe, the American Southwest, and Canada; she was a Nebraska cosmopolite. Unlike writers such as Walt Whitman, Mark Twain, and F. Scott Fitzgerald, who lived their lives as extensions of the stories they told, Cather was known for the privacy of her life as well as for the openness of her writing. She once said, in a letter to The Commonweal describing her own methods, that a novelist should present “the experiences and emotions of a group of people by the light of his own…whether his method is ‘objective’ or ‘subjective’ ” (On Writing, p. 13). Cather was a writer whose works were exceptionally infused with her own experiences, but at the same time she had the rare capacity for detachment and could make those experiences and emotions part of her characters' stories, not just her own.